AGORAfilia and agoraphobia (and 13): Documentary sources on Hypatia
After a long break "for the blog, not for what he writes," I finally decided to put an end, or full stop to this series of glosses on the figure and time of Hypatia of Alexandria, got their start in the distorted image on the subject has made AGORA film by Alejandro Amenabar.
are many issues that I have suggested and I no longer intend to develop, outside the frame of the film and Hypatia, but still immersed in this fascinating era in which were forged, destroyed, mixed and separated in a alchemical solve et coagula some of the archetypes that have guided-and disoriented the people of that entity as poorly defined and definable, nevertheless, still call Western culture. I would like to talk about the last pagan-Julian the Apostate and Nono of Panopolis, "the vicissitudes of Mother Goddess in the heart of Christianity Priscialiano and sister of Etheria, the solitary traveler, the bold visions of some Nag Hammadi texts ; of Christian yoga monks Hesychasts ... But all this and more is already on another page that will initiate as soon as possible.
I just need to fulfill the promise that has long preached: to publish all the texts of ancient documentary sources on Hypatia, for each judge to how later versions, including Amenábar's film, distort or not set. Here these texts :
Boris Puga, a tango systematic and consistent browser Gardel's work is a credible witness a beautiful story: the Club New Guard. For the presentation of a CD label Ayu, with the collaboration of the Municipality of Montevideo, which are remembered four musical groups, the researcher summarized the trajectory of the body remembered. So preliminary, note that the instrumental performances under to groups of Caesar Zagnoli (trio), Manolo Guardia (quintet), Luis Pasquet (quartet) and Toto D'Amario (quartet). in silent tribute to the important work of Boris Puga, book tickets and concepts of his report. They are part of a chapter that makes the music shine a tango that made Uruguay a hymn captivating.
"A May 8, 1954," recalls - is based in Montevideo New Guard Club, legendary group that defined themselves as "merely cultural institution devoted to the study and dissemination of good tango." It was designed by Horacio Ferrer, Jorge Rodolfo Rodríguez Seijo and Lourenco, along with a young and enthusiastic host of journalists. He adds: For twenty years he developed a fruitful work exposure and assessment of authentic tango of all time. First, met at the 4 th floor of the newspaper "El País", then the fonoplatea CX 44 Radio Solis and finally, in his legendary home of Soriano 1584 (a door painted in orange and one black). "
Account
Puga, among various activities, the Club decided to own record label, which recorded their versions of local clusters. Distinguished composers dedicated works to the institution negri-orange doors. "A New Guard," Anibal Troilo ; "brown and blue," Astor Piazzolla ; "Yunquitango" Hector Stamponi ; "Muchachada of law," Julio De Caro; "Deep" Juan M. Rodriguez, "At the suggestion of the Club", Luis Di Matteo; "Tango", Oldim Cáceres; "All of the boys," Mario Colucci.
An impressive list of personalities tango were received with open arms at the institution. Without exhausting the list, Boris Puga quoted: Julio De Caro, Anibal Troilo, Osvaldo Pugliese, Horacio Salgán, Astor Piazzolla, Osvaldo and Emilio Fresedo, Jose Marquez, Lucio Demare, Carlos García, Máximo Mori, Edmundo Rivero, Roberto Goyeneche, Alberto Marino, Raul Beron, Elvino Vardaro, Hector Stamponi , Leopoldo Federico, Ernesto Baffa, Enrique Mario Francini, José Bragato, John Vasallo, Atilio Stampone, Florindo Sassone, Emilio Brameri, Alfredo Franco, Ismael Spiltalnik, Horacio Malvicino, Juan M. (Toto) Rodriguez, Armando Blasco, Alberto Suárez Villanueva, Joseph Ranieri, Virginia Luque, Angel Diaz, Roberto Perez Prechi, Juan Carlos Lamadrid, July Huasi, Edward Adrian Hector Alvarado, Rodolfo Schiamarella. The national average adds to Zagnoli, Cáceres, Puglia, Pedroza, D'Amario, Cuenca, Di Matteo, Guard, Pasquet, Carlevaro, Colucci, Martinez, Lapuente, Lamarque Pons, Peppe, Casco, Silveira, Oberlin, Rivers, Fleisher, Nelson, Leon, Maira, Mastra, Silva, Avlis, Lights, Yanelli.
Many of the above, recalls Puga, participated in concerts sponsored by the Club in various public rooms of Montevideo. The CD Ayuí - IMM , flawlessly, recorded versions of excellent anthologies Uruguayan musicians.
Trio César Zagnoli, a teacher at the piano and his own arrangements, integrates with Raul Jaurena (bandoneon) and Eduardo Trinchitella (bass). Make: Chronicle of tango, Buenos Aires Summer, butterfly, Nochero am and Orlando Goñi. Guard Quintet New , Manuel (Manolo) Guard, (drums), Ariel Martínez (bandoneon), Sergio Furas (violin), Edunio Gelpi (guitar) and Roberto Capobianco (bass). Topics: monkey, South, Prepare, Tango of the East, Spell and Debussy. Quartet Luis Pasquet with Pasquet (drums), Juan Carlos Figares (violin), Victor Addiego (cello) and Nestor Helmet (bass). Parts: What a night, Niebla del Riachuelo, La cachila, Loca bohemia, red, red rose and red fire. Quartet-Toto-Edelmiro D'Amario (bandoneon and arrangements), Darwin Viscous (piano), Sergio Furas (violin) and Solano Fernández (bass). Interpretations: Earth dear Lord Tango Gallo ciego, Melancholy and Boedo.
IMPACT OF SPEECH ON THE FIRST YEAR SPANISH BIOGRAPHICAL
Walter Ernesto Celina Write
A contest sponsored by the National Academy of Letters on English Contact with African languages \u200b\u200bin the Rio de la Plata has given credit to the publication of the prize won by researcher Magdalen Coll. Montevideana, born in 1968, has a degree in linguistics from the Public University (UDELAR). It has also a doctorate in English language at the University of Southern California, Berkeley.
One of the effects of English rule was the imposition on the existing array of oral and written forms of communication. The shock of the conqueror and inhibited severely affected indigenous culture. From a prevalent position could not, however, to avoid the impact of exercise on the Castilian language Lusitanian and the various forms of black speech, imported under the regime of slavery. effects on their interactions led to the National Academy of Arts to promote inquiry in an almost unknown chapter, referred to the fouling of the speech of the black nations of the River Plate English.
enters its study, the author does justice to the respective institute of the Faculty of Humanities and Sciences (UDELAR), which scholars -opened 10 years ago, a chapter virgin, only paid for parts unearthed by historians. Almost as a presentation of the proposed order to study on its first page, Magdalena Coll making an appointment of Daniel Gaston Schávelzon (1958, architect, archaeologist and anthropologist Argentina) who said: "Why is nothing left of that population Black and material culture, evaporated as a mysterious and inexplicable sorcery? And almost no one asks is why our language "today in the XXI century" is full of African terms, providing a long list regard. Volume
, almost verbatim, some of their references: The woman is a mining (African ethnic group), the urban popular music is tango (tango is danced, in the Congo), whose shoes are still to some tamango , our Domestic service is the maid (African ethnic group); eat pumpkin puree (Mansilla and said it was food for the slaves), the cow's stomach is the tripe (Kumbundu African ethnic group); eat watermelon (brought slaves from Africa to the seventeenth century and offal (was given to dogs and pursued the slaves) to Children are sung lullabies in the cradle, the quilombo is a word that points throughout Latin settlements of Maroons (escaped to the mountains afros) and, hence, their association with noise and loss of social ties.
The jury selector work highlights the work of Coll is a careful relay and interpretation of sources and literature and an analysis of linguistic forms. He notes that the road taken more precise search efforts, systematization and interpretation. is recalled in the preface by a member of the court that the speeches of our Indians no longer had a presence in the early decades nineteenth century social groups. speakers remained only isolated "also obliged not to use their language to achieve better communication with the resident native" prompting rapid dilution and disappear. Introduction In chapter one the researcher adds location Slavery Eastern society, with demographic, ethno-linguistic and legal. He is another very important The languages \u200b\u200bof Africans and their descendants in the Río de la Plata . We continue sources, anthology of texts, linguistic analysis of selected texts and as annexes of importance.
The title speech of African slaves and their descendants in Montevideo in the eighteenth and nineteenth centuries: representation and reality "is a plausible effort National Academy of Letters, accompanied by the label Banda Oriental .
The cover reproduces the Oil Black, Alfredo de Simone. The careful composition graphical sum Tradinco 160 pages .-
AGORAfilia and agoraphobia (12): the other losers.
If the fourth century, and usually present the movie does AGORA - as bad for the dying paganism, it was much more disastrous, in my opinion, for a Christianity that, even then, enjoyed a multifaceted and healthy variety of religions, worldviews, rituals, versions and perversions.
With insanity, in some cases accompanied by extreme violence, such as the lynching of Hypatia, or the beheading of Prisciliano-escalated in this century the systematic persecution of heterodoxy, on behalf of an alleged orthodoxy ... that was rather Orthopedic , judging by the rigidity of creeds and movements which strove to straighten God's ways.
And the fact is that, in principle, things did not look bad for religious freedom, with this progressive Edict of Milan, which at 313 promulgated:
"Having realized long ago that should not be inhibited freedom of religion, but should be allowed at the discretion and freedom of each exercise on divine things under the advice of his soul, we have sanctioned that both all else, the Christians, keep the faith and observance of their sect and religion ... So we have promulgated most exact criterion is healthy and our will, that to refuse any license at all or choose to follow enforcement and Christian religion. Rather it is lawful to each devote his soul to the religion that considers suit him. "
Tan beautiful ... as ephemeral. In 325, the great manipulator who was Constantine, was known to ally with Christian bishops who matched in ambition to convene the first ecumenical council at Nicaea. They gave birth to the famous symbol or Creed, which made it clear that, in matters of faith, at least so-called Christians, they could not afford any dissent or alternative formulation.
Unfortunately, things were getting increasingly ugly.
A point I've been back to pick on my dear enemy Cyril of Alexandria, by an error in the quotation raises Antonio Piñero, about the New Testament canon formation, where, despite the typo, excellent book ORIGINS OF CHRISTIANITY. Background and first steps (Editions Almond, 1991). Scholars are also wrong ... Where it says (p. 388): "So, Cyril of Alexandria in Catechetica ...", should read Cyril of Jerusalem. This one Cyril wrote in 347:
"Concerning the New Testament, there are only four Gospels, because the rest have false titles and are harmful. The Manichaean have composed a gospel also the name of Thomas, who, though steeped in the fragrance of the gospel, annihilates the souls of the simple . We also receive the Acts of the Twelve Apostles, and in addition, seven Catholic epistles, of James, Peter, John and Judas. And as a seal upon them the last work of the disciples, the fourteen Epistles of Paul. The rest has to be considered secondary range. Other books should be read in churches, nor in private as I have heard. "
Emphasis in bold is mine. Never ceases to amaze the exquisite perversion of this sensor, which has no problem confessing that the Gospel of Thomas is "permeated with the fragrance ( Euodia , lit. "Good odor") of the gospel "... but even so, it condemns.
As expected, from this moment, both the creators and translators, copiers, readers or holders of the texts of Nag Hammadi library, which include "buenoliente" Gospel of Thomas-no were all clear that they could continue with their reading and writing alternatives.
To overcome the doubts, twenty years later, in 367, Athanasius of Alexandria, who was accustomed to preach to the faithful the beginning of Lent and the exact date of Easter, he wrote his festal letter 39, to be read throughout Egypt:
"But since we have referred to the heretics as dead, we will refer to us as keepers of the holy scripture for salvation, and as I fear that will not to be, as Paul wrote to the Corinthians (II Cor 11.3), a few of the pure in their simplicity and ignorance can be fooled by the trickery of men, in what remains, to treat or bumping into others guide them, the so-called apocryphal, deceptive homonymy with real books, I also write, by way of remembrance, of matters that are current, influenced by the need and usefulness of the Church. "
and then provides a list of the canon of "divine scriptures, both Old and New Testaments.
At this point, our monks of Pachomius of Kenoboskion, upon receiving festal letter of Athanasius of spoilers, you'll probably think about getting rid of subversive material of these texts now, thanks to serendipity, make the library Nag Hammadi.
Thirteen years later, in 380, it got really bad for all unorthodox or dissenting opinion in matters of worship, whether Christian, pagan ... or-so. So I put the oil Edict of Thessaloniki , supposedly issued by Emperor Theodosius:
"We want all people who are governed by the administration of our clemency profess the religion which the divine Apostle Peter gave to the Romans ... computer that has the name Catholic Christians who follow this rule, while others judge them insane and crazy about that weigh the infamy of heresy. Their meeting places shall not receive the name of churches will be, first of God's vengeance, and then be punished by our own initiative we will take following the will of Heaven. "
That same fateful year, in the Zaragoza council, condemned the bishop Galician Prisciliano presumably dangerous for things such as reading Apocrypha celebrate mass dancing in a circle in the countryside, and attract a cult too many women ... Five years later, was beheaded Trier, defendant, of course, of maleficium ... Some authors as little suspicious of frivolity and Claudio Sanchez-Albornoz and Miguel de Unamuno argues that his remains are buried in Compostela, and from there on pilgrimages ... non è vero If, well trovato è ...
The fact is that a year later, in 381, the ecumenical council Constantinople editing and underpins the symbol Nicene Creed or . It seems they want to firm personnel and say something like: "Nonsense, the fair." As the tango, what lack of respect, what outrage to reason and faith ...! From that moment it seems that it became clear that being a Christian was to commune with the one-dimensional, and, indeed, quite incomprehensible and indigestible "perversion of the Gospel message to be recited in the Creed .
The following year, the most complete monastic solitude austere, if we except the company of some early dictionaries Hebrew, Aramaic and Greek, Jerome began the titanic task of translating the Bible into Latin, ending in 405 and would be known as the Vulgate because, supposedly, was a vulgata editio, "edition for the people. " Incidentally, the name continues to be a mockery, it is well known that Catholicism has never had the slightest interest in that people have direct access to the scriptures. And if not, tell it to Luther, whose main demand was to translate the Bible into vernacular languages \u200b\u200bso that everyone can read the sacred texts without intermediaries. In any case, the Vulgate became the official text of the Church and would remain so until 1979.
At this time, St. Augustine and was making war, fighting heresies and suggesting some of the most daring and distinctive theological and anthropological concepts-how to reach to say that evil exists to be free, "that you where to look , not only led him to be condemned as a heretic, but he rose to the altar of holiness. Ultimately going to be true that God writes straight with crooked lines ...
But the story was not just lenient with other dissident and heterodox. The last decade of the century begins in 391 with the aforementioned Theodosian decree banning other religions, which led to the destruction of the Serapeum in Alexandria and made it clear that "nobody will go to the sanctuaries, walk through the temples, or raise his eyes to statues created by man. "
With such beliefs, edicts and decrees, it is not surprising that the Christian monk St. Pachomius monastery was founded in Kenoboskion in 320, was to come up with their bones in the desert taking with them, tightly sealed in a vessel, that find treasure by chance in 1945 after Muhammad 'Ali al-Samman: Nag Hammadi Library.
Bad Times for pagans, yes, but also for heterodox Christians ...
The tangófilos be rejoicing. In the days ahead will be held in Buenos Aires during the first biography of Carlos Gardel in intensive mode. The same will be led by the indefatigable Ms. Martina Iñiguez Argentina researcher who, as is known, has developed and expanded the thesis of journalist Erasmo Silva Cabrera, Architect Prof. Dr. Nelson Bayardo and Paysée Eduardo Gonzalez, referring to Carlos Gardel Uruguay.
Date: Saturday July 17, 2010.
Hours: from 10:00 to 18:00 pm .
Held Tacuarí 237 - Piso 1 º "16"
San Telmo. City of Buenos Aires, Argentina.
The event takes the modality, although it may continue to flock Gardel from anywhere via the Internet.
Those interested can obtain supplementary report and register using the following contacts:
Two versions of its origin and Tacuarembó Toulouse - The Gardes and Publications plaster before and after his death - The Age of Gardel - False statements, fantasies, concealment
Module 2: 1893 to 1911
childhood photos - school handbook, 1904 The Documentation Carlos Gardel official
Module 3: 1911-2010
The Medellín Tragedy - The holographic Controversy - Chronology Conclusions and discussion DNA.
The number for the month of Ciberlunfa June , monthly publication of the Academy of Lunfardo Porteña, accounts for the emergence of a new play by José Gobello eminent scholar on the dialectal form as Buenos Aires, as extended by the fields of Plata. This title Poetry Lunfarda. From Brothel to Parnassus, "an anthology by Ediciones Corregidor, Buenos Aires.
are particularly interesting passages of the critical comments of two expert analysts, who point out the merits of the work of lunfardólogo. Roberto Selles note the clarity with which Gobello incursions into the field of a singular lettristic when question "What would you call this poetry going around in the suburbs of this city, overlooking the center and queuing to enter areas of high culture? " commentator adds: "Among the many merits of the compilation include Gobello professionalism, which has failed to obviate the authors, living or dead, with whom he disagrees or until you cut the relations ..."
"The second half the book includes contemporary poets, which gives an incontestable Jose slang shows that, as he often said, "is alive and well."
Not only that. It also proves that this type of poetry has evolved (the long road from the brothel to Parnassus), and has done so thanks to that, one day, great-owner Julian Centeya more cultural baggage than those who preceded him, made that poetry was advanced, or avant-garde, if preferred. And after he could emerge a host of evolutionary, not as extensive as one would like, which also dared to take the knowledge lunfa watered at the source of international poetry and new schools ... " Meanwhile, Otilia Da Veiga comments: "methodical work wisely invited to walk the itinerary of the verses Lunfardo, since that first and anonymous quatrain rescued by Benigno Baldomero Lugones:" Being in the sheepshead minnow Policy / presented the mayorengo: / come to bear in jail, / what has betrayed its mine. " "As the de Arana, Cepeda and Luis Blasco, those verses were written in blood ink marginal environments, in this village should be the Buenos Aires in late 1800. Language suburb near the boundary of the field, turns gauchescos intertwined with the languages \u200b\u200bof immigration, cocoliche breeding ground that gave birth to the farce of Vacarezza or appetizer José González Castillo. Panorama of different situations developed in perfect timing, exhibitions perhaps before complaint, discomfort, lack, neglect and sadness of the dislocation that knew make room for even the humor and the grotesque, as they count Ivo Pelay Cadícamo, Carlos de la Pua, Ivan Diez, Dante A. Tramp and later in time, Joaquín Gómez Bas and Julian Centeya. "
And more names attached: Roberto Selles, Luis Alposta, Roberto Santoro, Ricardo Ostuni, Hector Black, Orlando Mario Punzi.
It goes on: "And what about women! That, to recognize as valid a vocabulary to express any feelings with depth, dare to use it in time with the solvency literary verses show Nyda Cuniberti, Martina Iñíguez, Eva Falotico Gandolfi, Isabel Puncel of Dumery, Judith Bas or Elsa Gomez Barreneche Baroni. "
As can be seen, this has to do with the historical heritage that is grown and drunk in the tango, to capture a very cultural event our .-
The brunette is a tango emblematic piece of the Old Guard . Its author is the Uruguayan Enrique musical Sabol. The letter corresponds to Buenos Aires Angel Villoldo. Data 1905, preceded in 1903 by just The porteñito the same Villoldo (although it is conjectured that the lyrics could have been written by his popularizer Alfredo Eusebio Gobbi). Early , Paris took her across the Atlantic. Judging from one of his verses, say now something about this brunette "look hot."
Around birth, the wise Joseph Gobello taught in their biographies:
The History of brunette has been told many times, with different details that do not compromise the overall accuracy. The thing was Christmas of 1905, the Bar Ronchetti (Reconquista and Lavalle), halt the rich kids, where he was familiar with the beautiful figure of the popular singer Lola Candales Uruguay. would have been the lady who opened The brunette after Ángel Villoldo cupleteros put verses (though inspired by a poem by Orosmán Moratorium) to the tune of Sabol. Then, Flora Rodríguez de Gobbi included the piece in its repertoire and, like anything made another popular singer of that time, Lola Menbrives, which would become one of the most important actresses of the English language.
About our fellow Sabol, writes in a passage Gobello: made a run a little different from other artists of the tango. In the meantime, was a dancer and dance teacher, to academia itself, so that when the tango dominated Paris, 1910, the young pianist was among the first teachers who opened academy ... (Women and men who did the tango. Libertador libraries. Buenos Aires 2002).
Pintín Castellanos composer, in work cited in previous note says that the tango was the real Henry Saborido seed our dance in Europe and because he an expert dancer cuts and broken. He adds that, while, unmasked many "teachers" that eventually resulted in the Volga River Plate, of Hudson, Venice, or the Seine.
The upper classes wanted, too, learn choreographic skills Uruguayan musician and dancer. Castellanos he notes that, in more than one occasion, the author of The brunette had the pleasure and the honor of dancing the tango to sovereigns. inseparable part of the story that Carlos Gardel and other beloved folk artists repeat, no fences or boundaries. With strength, a century later, there are women like of the song, sing with sweet emotion the pampas, the beloved homeland and the faithful love. For hours of her best delight, they receive the embrace of Henry Saborido danceable.
In a meeting with the Master José Gobello illustrates the Araca tango, Paris! , the Uruguayan Carlos César Lenzi and Ramon Loro Collazo, highlighted the anger that by 1912, aroused our music in the City of Light . Column Tangoville , published in L'Ilustration (Paris 16/08/1913), states: was installed as the owner of all the good dance halls. Add then: has conquered our language, which immediately opened the treasures of his grammar. "Voulez-vous tanger? (Shall We Dance?; Dance?, "Tango?, Will you dance tango?, Translation WEC), were questioned in the most natural in the balls ... (Todo Tango. P. 44. Ed. 2009. Buenos Aires).
Pintín Castellanos Darling, with whom I had the honor of sharing dialogues-friendly gatherings, author of the milonga The stab , immortalized by director Juan D `Arienzo orchestra, he recalled that moment in history of tango. In his evocative book between cuts and broken , the commentary Madness Tango in Paris, says places, fashion, expressions and gait to many Parisians, clearly showed the influence of tango .
In 1914 an Argentine journalist, who from the French capital returns home, realizes the impact of tango. This is an excerpt of the story provided by Pintín:
We had been in the Avenida de las Acacias, whose sidewalks were busy, when my companion drew my attention to a young woman, beautiful with a dress wrapped around his legs chiripá as meager. After observing a moment, my friend and I watched in amazement: No doubt! That handsome boy imitated the way, half on tiptoe, with the shrug and its enpaque and his walk, the characteristic modes of our populace orillera .
overhead would arise at this moment the dresses tangó , the bars tangó , the tangó restaurants. Madness!, exclaimed the pianist Montevideo. (P. 64 ff. Ed. 1948. MVD)
As the sweetest knife, intoxicating tango French sensitivity and disseminated in Europe the spell of music, dance and song the River Plate. **
AGORAfilia and agoraphobia (11): The other lost library
probably crucial event in the film AGORA, apart from the murder of Hypatia, the destruction of Serapeum in 392 by the Christian mob, accompanied by soldiers, interpreted and Theodosius's decree in 391en which stated that "nobody will go to the sanctuaries, walk through the temples, or raise his eyes to statues created by man." Is usually associated with the destruction of the remains of the Alexandrian library, the library called "daughter of Serapeo because the library had been looted mother in 272 in Aureliano times, and in 297, under Diocletian. In view of these unfortunate events, it is not surprising that the film, like the legend of Hypatia's death associated with the destruction of the Alexandrian library, and show both events as a tragic symbol of the death of classical culture and pagan religion at the hands of Christianity triumphant.
We've been checking in this series of articles that have shaped this blog, how such a view is rather reductionist Manichean and, ultimately, inaccurate. To act on it and see how the result was far from Christian 1 - 0 Pagans, now let's talk about another library, much smaller but highly valuable, contemporary of Alexandria, who was also in Egypt, and that around the same time, if not destroyed, it was because it was saved by a whisker, at the cost of lost in oblivion enclosed in a jar and buried in the desert ... until fifteen centuries later (coincidentally?) again saw the light and the eyes of new readers.
Anno Domini 1945. In that year, some of the best brains in the West worked on the Manhattan Project and managed to give birth to a monster ... to kill another monster, and cause a holocaust in response to another holocaust, July 16 made the first atomic bomb explode fission and shortly after two other throw, 6 and 9 August on Hiroshima and Nagasaki. Oblivious the beginning of the atomic age, December 7 fellahin, Egyptian peasants, rode their camels in search of sabakh , kind of litter they used as fertilizer for their crops.
When they arrived at Jabal al-Tarif, an impressive cliff on the left bank of the great bend of the Nile, near Nag Hammadi, on the other side, sixty-five kilometers northwest of the Valley of the Kings and Luxor, they began to dig and they met first with a human skeleton at his side, with a jar of clay about two feet tall, with a covering the upper bowl, sealed with bitumen. According to one account, Muhammad 'Ali al-Samman, at first did not dare to break it, for fear that dwell within a jinn or spirit. But they also could be a treasure to keep it, finally broke it and he said he, his interior flew a gold dust rose into the sky ... The rest, to his disappointment, was nothing more than a collection old papyrus bound and covered in leather. In fact, the "gold dust" was not nothing but papyrus spray glittering in the sun. Muhammad 'Ali tore the books to share the "treasure" with peers, but no one wanted any part of the booty. Then wrapped them in his turban, put them in the back of his camel, and threw, when you get home, the straw of the barn with the animals. Muhammad's mother acknowledged that some of the papyri used to light the fire and cooking dinner ... Almost 1500 years buried ... to end at the stake ...!
But the story does not end there. Apparently, Muhammad Ali and his family were involved in a brawl of blood with a tribe from a neighboring village. The affair had begun six months earlier, when Muhammad's father, who worked as a guard irrigation machines imported from Germany, shot dead an intruder. The attacker's family, meanwhile, killed the father of Ali the next day. A month after the discovery of the Nag Hammadi manuscripts, Muhammad and his brothers learned that the murderer of his father was sleeping drunk at roadside. They took their spades and reached the place where it was and, still asleep, beat him to death by Zach, they opened the chest, took out the heart and ate it, still warm, in an act worthy of Aztec priests ... if not for the curse and vengeance rather officiated the rite of prayer and sacrifice. What follows is no less gruesome, but more gray and shameful, Unfortunately, more often: illegal sale on the black market of some manuscripts, jealousy among researchers and disputes over the primacy of issues, conflicts of interest between institutions and other niceties sordid guilty of the first complete translation of the texts, English is delayed more than thirty years ... The full translation into Castilian still take another twenty years, ie half a century after discovery so valuable ... But what manuscripts we talking about? These thirteen codices, in fact, twelve plus loose leaves of another lost manuscript, "covered with leather covers, containing 52 treatises written in Coptic on papyrus dated around the late fourth century. Coptic is the Egyptian language, that of Nefertiti and Akhenaton, written in the Greek alphabet, which will add seven new characters, taken from the Demotic, representing the Egyptian consonants that do not exist in Greek. Very near the site of the discovery more than 150 caves, some of which are paintings and funerary inscriptions of the time of the sixth dynasty, 4300 years ago. Moreover, if the people closest to the Nag Hammadi discovery is now almost beside it, on the other side, that of finding, are the remains of Kenosboskion, where in 320 St. Pachomius founded the first Christian monastery. Some fifty years later, maybe some of these monks write these manuscripts, most translations of earlier Greek documents, ... for, before long, be forced to bury them.
What we now call the Nag Hammadi Library is a collection of texts reflecting a mystical and esoteric religious movement that experts call Gnosticism because, although the term covers very heterogeneous concepts, all seem to agree on the pursuit of salvation through gnosis , in Greek, "knowledge." Most of these texts are also Christians, many unknown so far and other by only fragmentary references or citations, written as it is called apocryphal, that critics term was synonymous with "false." However, it should stop in the full meaning of these two Greek words, now as then we run the risk of using them as mere taxonomic labels. On the
gnosis and Gnosticism much has been written, and many scholars engaged in explaining the complex worldviews and divine genealogies of the various Gnostic groups. On the other hand, there are many occult middling new Gnostics, who are quick to seize not know what heritage bequeathed supposedly secret knowledge by the Gnostics of old. The truth is that among so many trees is difficult to envisage the forest ... Gnostics sought
knowledge that had nothing to do with memory or with the books ... but certainly not stopped reading and writing. Sought a further understanding of worldly knowledge, and therefore we are at once attracted the "kingdom" not of this world, that vision is not everyday perception, the depth dimension of reality and the divine that seemed to hide behind the teacher's words of Jesus when he said that "he who has ears to hear, hear. " And looking both outside and especially inside, in that hidden place where the soul hides the divine spark. Thought that most men do not really get to know that deep, so the images that describe this sorry state are the sleeping man, the drunkard, the ignorant, the sick, the captive in the darkness. Gnosis , thus, stands for awakening, healing and release. What should be saved? The shipwreck which is a life in ignorance of what really is. There is no sin that a mistake of believing in "this" world, in this conventional system of values, in this fantasy and farce that we fly deaf to the "silent music" in this rumor of herds that keeps us from the solitude sound "in this bustling stuns us and prevents us from listening to the cosmic symphony of which the Pythagoreans spoke ... He who has ears to
hear ... As for the apocryphal term, since the time of the first heresiologists so far has been being used as a synonym for "fake" or "inauthentic", and this has been applied to Christian writings not accepted by the orthodoxy considered uninspired or false attribution. However, if rigorously applied this criterion, there to say that none of the considered canonical Gospels, except perhaps that of Lucas, was written, according to critics, the authors attributed by tradition. Therefore, they would all be apocryphal Apocryphal ... in Greek literally means "hidden", "hidden", "secret." In this sense the term appears in some of the works found at Nag Hammadi, as the "Apocrifon of John" or "Secret Book of John." Arguably, therefore, that these manuscripts are spurious in three ways, namely because, according to orthodoxy, not writing "real" they are presented as secret teachings and, last but not least, because they were literally hidden for over fifteen centuries.
Who, when and why they hid the manuscripts? Although the answer to this question is already suggested triple between the lines, soon-or at least I hope, we will dive into deeper inquiry ...
on the decade of the 50's of last century saw the tango the shaking that imposed Astor Piazzolla. The Argentine musician virtuuso had early contact with Carlos Gardel, still the boy in a scene from The day I want . Remember Joseph Gobello in Todo Tango , some moments gravitantes of its formation and to lift those orchestral nucleation resistance and applause: the Buenos Aires Octet and, later, the quintet . Quote names of musicians flagship integrated into the current renewal: Enrique Francini, Roberto Panssera, Horacio Malvicino, Atilio Stampone, Antonio Agri, Oscar Lopez Ruiz Cacho Tirao and unforgettable.
Providing data on purpose theme Balada para un loco , summarizes: " is from 1969 after the premiere of the operetta Maria de Buenos Aires, with text by Horacio Ferrer, who begins to follow the path of popular recognition through his greatest success linked to tango: Balada para un loco. " get me In a side note to wider considerations of the great musician marplatense. In this instance remember the Uruguayan Ferrer, his close friend, with who work in symbiosis authorship.
nochecita In a spring, I think in 1957, Pedro Enrique Mercy Haba Müller Mario Prunella Celina and I opened the door red-black one of the last houses on the street Soriano, in Montevideo, and descended to a large basement, fresh and fairly light. Nervously Horacio Arturo Ferrer and other friends of Club New Guard condition the banks in that cave and tested the connections of the audio equipment. Was to begin one of the usual auditions Hartnell tango music. In the intermediate group discussion. Unanimity was implied in Gardel. De Caro, Troilo, Pugliese amounted prestige. They wore the match hardcore fans and Salgán Piazzolla. Vardaro accumulated votes and there were plenty of references to recent contacts with Dr. Luis Sierra, consul of the institution in Buenos Aires. Ferrer officiated as secretary and also commanded the magazine Tangueando , with important items rioplatense musical culture. With the pseudonym Horacus , drew caricatures of musicians profiles pioneers. This architecture student, born in Montevideo in 1933, enjoyed the company, among others, my dear friend Jaime Bareika (then a medical student and member of the FEUU), of the tender tangólogo Boris Puga, musician Nicholas Pepe, the Jorge Seijo architects and Carlos Vallarino, the painter Mario Arroyo, the journalist Horacio Loriente. Despite these experiences, my friend was the poet and journalist Eduardo Ferrer, brother of Horace. By then, Horacio Ferrer was made by tangófilo journalism and, on the wings of this inspiration, he began to build lyrics, clinging desperately to the generous Buenos Aires, Buenos Aires and eastern so. From 1969 data
this beautiful page, which Astor put his fine music:
Balada para un loco
(Spoken) The afternoons in Buenos Aires have that I do not know, " see? You leave your house, Arenales. The usual: on the street and you ... When suddenly, from behind a tree, I show up. you laugh ...! But only you can see me: because the mannequin wink, the lights give me three heavenly lights, and oranges from the bowl in the corner I pulled blossoms. Come!, So, half dancing, half flying, I remove the melon to say hello, I give you a flag, and I say ...
(Sung) I know I'm crazy, crazy, crazy ... not you see rolling moon Callao a parade of astronauts and children, with a waltz, dancing around me ... Dance! Come! Fly!
I know I'm crazy, crazy, crazy ... I see Buenos Aires from the nest of a sparrow; and I saw you so sad ... Come! Fly! I felt! ... the crazy guy that I have for you:
Loco! Crazy! Crazy! After dark on your Buenos Aires alone, by the shores of your sheet will come with a poem and a trombone develarte to the heart.
Loco! Crazy! Crazy! As an insane jump stunt, into the abyss of your neck until you feel your heart freaked that freedom ... I You'll see!
(Spoken) Let's go fly, my dear, get on my illusion supersport, and we will run over the cornices with a swallow in the engine! In Vieytes applaud: "Viva! Viva! " madmen who invented Love, and an angel and a soldier and a girl give us a dancing waltz. come out to greet the beautiful people ... And crazy-but yours, "what do I know?: bell to provoke laughter, and finally look at you, and singing softly:
(Sung) Love me, crazy, crazy, crazy ... Climb this insane tenderness in me, this wig ponete lark, and fly! Fly with me now! Come!, Fly, come!
Quereme well, crazy, crazy, crazy ... open up your love that we try the magical madness of reviving ... Come, fly, come! Tra-la-lai-larara!
(Yelling) Viva! Viva! Viva! Loca her and me crazy ... Crazy! Crazy! Crazy! Loca her and me crazy!
Certain aspects of the River Plate culture show the strong association that has marked above divisions political and institutional. How could it be otherwise, this is reflected in popular expressions of strong accent. If it comes to music, can not be ignored the contribution to the rootedness Uruguayan tango. A little text to appreciate the Araca , Paris!, written in 1930 and immortalized by the voice of Carlos Gardel, one would suspect that the intense atmosphere of Buenos Aires has its origin in Uruguayan sources, both in words and music.
Maestro José Gobello includes it in the book of letters and I have been discussing history, with places of interest. About the author sums up: Send Carlos César Lenzi, playwright and Uruguayan diplomat, music by Ramón (the parrot) Collazo. Carlos Gardel recorded it on November 4, 1930.
Indeed, both were important references in the show. Lenzi, in 1925, was created with leading fellow musician Edgardo Donato, A media luz, a composition that swept the world, whose suggestive lines remain in the collective memory (What soft velvet, the half-light of love!) . His prolific record linking him to the Upper Room Tabaré with Fernán Silva Valdés, and Julio Rodriguez Yamandú B. Mendilaharsu. Magazine theater and told him among his people, with another Montevideo, Angel Curotto. Luis Cluzeau Mortet musicalized lyrical composition The tops of the mountains . Miguel de Unamuno The ascetic praised his poems . Translated into French, collected laudatory criticism of Jean Cassou. Friend of the star, appears with him in a photo taken in Nice.
Ramón Collazo was a central figure in Uruguayan carnival since 1920, which was designed with the famous Athenian Troupe, from which emerged the Oxford . Tango Goodbye my neighborhood, its authorship (old neighborhood that I go, I give you my last goodbye ...) , was recorded with this group, remembered for her real counterpoint to 69 A , inspired by Salvador Granata, whose tenor leave fond memories. Collazo had an excellent musical education, acquired in the Institute Verdi. He formed his orchestra in Buenos Aires, recording for Odeon . One of the first national films, I'm happy Soltero, it had the musical author and actor. In his tribute, Summer Theatre Parque Rodo, Montevideo, agora of the carnival, bears his name. Was inspired, too, sets not forgotten as parodic chocolate and musical moment. Remember
Gobello the tango's popularity had acquired in Paris around 1912. Raises a note of L'Ilustrattion , August 1913. I draw these lines appointment gobeleana: "At the same time it has been installed as owner of all the good dance halls, has won our language, which immediately opened the treasures of his grammar:" Voulez vous tanger ? (Want / s thong?; the River Plate we said: "Dance?, Shall We Dance? And now, tutear Dance? WEC), were interrogated most natural way in the dance world winter and spring ... "
Another tablet, closer in time, Gobello located in mid-1922, in a commentary that makes Reason Enrique Gómez Carrillo, referring to the adjectives managed by La Revue Mondiale before the triumphal entry of our music in the City of Light: "wild dance ... and black, without grace, immoral, corrupting, dangerous."
In Araca, Paris! , so ours by Uruguay and Buenos Aires, the gigolo , returns to its place of origin, after picaresque adventure, trading their hopes for a Salute, Paris!
ARACA, PARIS! Pianta Alsina Bridge to Montmartre / pa all beating me 'm'engrupir. / You got the look p'acomodarte Creole / with old Frenchman who goes to dancing. / What do you do in Buenos Aires? Do not be otario ! / Amur Tabarís these milongas. / Tango with three cuts're a millionaire ... / "Morocho and Argentina? King of Paris! Araca, Paris! / Salute, Paris! Raja Montmartre / Piantata, unhappy. / If you go to Paris / morfar you will not. / No mines sea lions / and must laburar. / Volvete p'al neighborhood and have milongas, / milongas diqueras / you know how to love. Araca, Paris! / Salute, Paris! / Raja of Montmartre; / Piantata, unhappy! I grabbed luxury train, crazy 'and happy, / - Bon soir, petit. Je t'aime, tu es mon Coco - / with a very one-eyed fat vento / not me and I gave even half a tack. / I threw the anger and handsome, pa 'cut me, / a slap in the cream is embedded. / Police, judges and a passport ... / Y ended my story as a gigolo. **
AGORAfilia and agoraphobia (10 bis): Was Jesus a feminist?
For more than a month left pending review article Leonard Swidler that gave title to the entry: Jesus was a feminist. Today, when we return to the issue, observe that the same título va entre interrogantes, y ello por varias razones que explico a continuación.
En primer lugar, he de confesar que nunca fue de mi agrado un título tan categórico y un tanto cronocéntrico , en el sentido de proyectar categorías de nuestro tiempo a dichos y hechos de hace veinte siglos. No obstante, el autor intenta aclarar los términos desde el principio del artículo. Merece la pena detenerse en tales aclaraciones, pues nos han de servir de referencia para la polémica posterior:
“Por feminista entendemos a una persona que está a favor de la igualdad de los hombres y las mujeres y promociona el reconocimiento de esa igualdad; una persona that advocates and practices the treatment of women, first as human beings (in the same way men are treated) and willingly contravenes social customs in doing so. To test the proposition stated, it must be demonstrated, to the extent possible, that Jesus said and did nothing that would indicate that called for a consideration of women as inherently inferior to men, but on the contrary, he said and did things indicating that he thought of women as equal to men and that through such an attitude, willfully violated social customs in force "
Then see if the evidence presented or not fit those criteria.
The second reason to put in between questions about feminism's assertion of Jesus has been the judicious meeting with two recent monographs on the subject, a renowned scholar of Antonio Pinero, Jesus and women (Aguilar, Madrid 2008), and a José Ramón Algaba corners, Jesus of Nazareth and his relationship with women. An approach from the study of gender from the synoptic gospels (Academy of Hispanics, Vigo 2007). In both concluded that it is entirely attributed to Jesus too egalitarian and feminist message. Thus is sharp corners, "the mythical egalitarian message of Jesus of Nazareth never existed. Nor in early Christianity, the group that is immediately after his death "(p. 210). More moderate, Piñero concludes: "the historical Jesus really upset to some extent certain religious values \u200b\u200bof the society of his time, but it really seems to put the theoretical basis for renewed consideration of the role of woman in this society in the lived "(p. 279).
In these two papers are removed one by one the arguments in favor of the alleged defense of feminist and egalitarian attitudes on the part of Jesus. But the first thing that strikes me is that in their respective bibliographies-in Corners are cited up to 106 authors, not quoted pioneer Swidler article (published in 1971), or the equally interesting Shalom Ben Chorin (Jewish theologian who published in 1967 ecumenist Brother Jesus of Nazareth from the Jewish point of view ). Interestingly, the article by Ben Chorin of the same title as the book Piñero, but adds a very evocative subtitle: Jesus and women. Was married the Nazarene? . It seems unlikely that this omission is due to ignorance literature. At least in the case of Antonio Piñero is highly unlikely, since Ben Chorin article was published in Castilian in a curious and marginal review of the late '80s last century in which the very Piñero also worked. I mean HETERODOXY , directed by Manuel García wine, which came out 16 issues between 1988 and 1991 quarterly. As it is difficult to get, I can scan the article Ben Chorin and upload it to this blog (see below) with the tool Scribd.
literature
If the omission is not due to ignorance, will perhaps be said to be documented thesis Swidler and Ben Chorin?
It is high time to stop the promised summary of the article Swidler. In the summary and analysis shows that, although tight and because it is a concise article is quite comprehensive:
1.Tesis 2.Definición 3.The terms status of women in Palestine 4.La nature of the Gospels 5.The women the resurrection from the dead 6.The women disciples of Jesus 7.The women as sex objects 8.The rejection by Jesus, the blood taboo and Samaritan 9.Jesús 10.The marriage and dignity of women 11.La intellectual life for women as women 12.Dios
Conclusion I allowed to select and sort data Swidler, and add some nuances and references of interest. To cut a very heavy reading, I will not be exhaustive with evangelical quotations, which can easily be found in Article .
start with point number 5. The Christian dogma of the resurrection, though difficult to digest more than a Christian, as was the case of Neoplatonic Sinesio-was undoubtedly one of the distinctive emblems of the new religion which, therefore, would also become authority requirement apostolic characters who had greater authority among the first Christian communities were precisely those who had witnessed the resurrection of Christ. See in this regard the passage in which he was appointed apostolic successor Matthias as Judas in Acts 1, 21-22: "it is necessary that men who have accompanied us all the time that Jesus lived among us, beginning from the baptism John, until the day of us was taken up, one is a witness with us of his resurrection. "
Well, if we follow the four evangelists, was Mary Magdalene, good company of other women or herself, the first witness of the resurrection. Hence, in the medieval tradition, at least from vitae beatae Mariae De Rabanus magdalenae Mauro, in the s. IX- was known as apostola apostolorum , ie, the apostle to the apostles, which was the central message of the resurrection to their own messengers.
I do not understand what is behind the attempts of both corners of Piñero as so revealing overthrow tradition. Part of what we might call the affair Magdalena quite complex and very tricky recently, especially from the novel-movie "The Da Vinci Code." We will not get us now to mismatch eyed alien, but to put the question in such disallowance of the Gospel tradition and medieval about Magdalene as the first witness of the resurrection. Piñero argues (pp. 214-217) that the only true story that counts Marcos (16, 1-8), the oldest Gospel source, according to which women have fled in panic and have remained silent on the angel's message they had announced the resurrection of Jesus. The other evangelists, as Piñero, try to correct this negative image of Mark giving it a spin and put to Magdalene and women as true and joyful apostles. The question is why in a patriarchal tradition so openly and in a community run by and for men were to have any interest in cleaning up the image of a woman ... then be so clearly maligned in later centuries, it would be the apostola apostolorum to be blessed or peccatrix castissima meretrix , ie "holy whore", with apologies.
As for the beautiful love scene narrated by John (Cap 20) (where Magdalena answered the call of Jesus - Mariam! - with the expression Rabbouni! , "my teacher", and he when she approaches, you loose the enigmatic Noli me tangere, "touch me not"), Piñero merely to highlight its "mystical, sometimes symbolic, and trimmed some protognosticismo "completely denying any vestige of historicity (pp. 218-219). However, it does highlight the importance of the Gospel of John gives exclusively to the woman and asks, "Why her?", Then replying: "I do not know exactly, but we can say that it seems useless to do at the scene of Chapter 20 any erotic significance. " And I wonder, if we do not know the reasons for John to highlight the role of this woman, how do know, or at least Piñero, which were certainly not erotic issues such as a possible romantic relationship, or even double- between Jesus and Magdalene?
With respect to the arguments of corners, listen to their conclusions:
"Mary Magdalene, only in John and Matthew, is a witness of the resurrection, and only in John is alone with the Risen. In Mt-whose honor of being the first witness is shared with the guards women are unsure just the first act that will culminate with final endorsement in appearance to the males. In John, the beloved apostle is the first believer, he who believes without seeing even the resurrected body of the Nazarene. Mary Magdalene is the first witness, but everything suggests that the intention to oust Peter and legitimize and the strange doctrines of John, although not fully Gnostic, is set to start a tradition that will end so. " (P.197)
indeed be called Gnostic , "which considered themselves Christians simply - who developed the tradition of the role of Magdalene as a disciple, even as the wife of Jesus. Historicist fetishism of our two authors is that prevents them from seeing that, in any case what really happened - do we know? - Is a documented fact that in certain early Christian communities-Gnostic or not it was in high esteem the figure as disciple Mary Magdalene and, therefore, of a woman.
Moreover, we Swidler notes that there are three resurrections related to the woman, the daughter of Jairus, here Jesus touches the body, which is a violation of the Act, it would be ritually unclean, "the son of widow of Nain and Lazarus, at the request of Martha and Mary.
By the way, is a woman, Marta, which reveals what he had said to any student, "I am the resurrection and the life." Following that scene, which has no waste, we need Jesus seems to claim the possibility of a contemplative life to women and reported against the stereotype of female submissive role when he tells Martha, worried that Mary leaves housework to listen to Jesus, that "Mary has chosen the better part." Ben Chorin also highlights this "appears unlikely" (p.45)
Then we would have the role of so-called disciples of Jesus, the deaconesses , paper authors also challenged by our critics. In any case, as I said earlier, seem to ignore the documented fact that in certain early Christian communities, as Quintilian he named Epifanio and quoted in the previous post-officiated women even as bishops.
Finally, I find revealing, as Swidler and Ben Chorin, "but not, of course, Esquinas-Piñero or a series of transgressions of Jesus to the rituals of purity and danger", I would say Mary Douglas imposed by the Act, as already mentioned, touched the corpse of a woman (the daughter of Jairus), was anointed by a prostitute left, forgave an adulteress; cured a hemorrhage, a woman with menstrual flow constant, therefore permanently impure, "spoke with a Samaritan-a rabbi addressing a woman, and also non-Jewish, and was not exactly a trivial conversation, and said Swidler," first time and in an explicit manner, revealed himself as the Messiah. "
remains to be seen suggestive Swidler section that focuses on "God as a woman", but it is a juicy topic enough to taste another time. For now, here is the article by Ben Chorin, affecting many of the issues discussed, and introduces another no less juicy, and will also be subject to future investigations, namely: if Jesus was married or not.
With respect to our discussion, I think Swidler complies well with the expectations that had been proposed in the introduction clarification of terms. And as to the serious doubts cited by Piñero and corners, I think at first he blinds his meticulous philological historicism, which prevents him from capturing a zeitgeist that certainly seemed to back the equality of women, while the second is, in my opinion somewhat intoxicated by the philosophical materialist reductionism of his revered teacher Gustavo Bueno-dogmatic and cryptic "categorical closure" - which puts him in a horizon of understanding which does not blow any spirit, and if it did, soon be reduced to mere gas ...
Let's stay here is a poem of the urban music rioplatense , Joseph Gobello out in Todo Tango. His first three verses us into a universe of love present, marked by anxiety and desire to live: Love, life slips away ... / let's stay here ... It is time to come. / Love, let's stay here. Luggage
Argentine compiler note: "In 1956, Libertad Lamarque, accompanied by the orchestra of Alfredo Malerba, left a beautiful rendition of the tango, which has lyrics by Homero Expósito and music of Hector Stamponi." be recalled that the vast Rosario Libertad Lamarque is an out-standing figure of the popular song and scene. Began in the tables and, on completion of his career, was involved in nearly fifty musical films. He lived over 90 years. Co-starred with Hugo del Carril, Jorge Negrete and Palito Ortega, among others. In 1931 he won the nickname Queen of the Tango , after winning a competition feature of the time. Galician mother and father of Uruguay, joined transformative ideas, his name is right on the break with the status quo . Freedom emigrated from their land after the rise of Eva Duarte and Juan D. Perón. Mexico and Puerto Rico prohijaron. in 1967 was hailed by his admirers in the Odeon Theatre , after the fall of Peronism. was not a policy. Yes, a talented artist. True to its roots, with an audience no less true. The legacy of permanent raised his voice admiration. With orchestral accompaniment Alfredo Malerba, her husband, noted the brilliance of the lyrics:
Let's stay here
Love, life slips away ... / Let's stay here ... It is time to come. / Love, let's stay here. / Why mercilessly shoot? / Love, the flower reopened / and there like a lonely, let's stay here ... / Our fatigue is a poem without a final / here we can finish.
Open your life without windows ... / Look how beautiful it is the river ... / You wake up in the morning and I have wanted / to get together a bunch of spray ... / No more nights and forgotten! Enough alcohol hopeless! / Let everything that has been / bleed in that yesterday without faith!
Perhaps, therefore use the gray, the sun blind you, but that has no end ... / You will then see all the color ... / Love, let's stay here. / Love, Look out the flower / and understand the truth they call heart . / Leave the past cowering in the marsh, / that we can begin ...
With the usual hierarchy, in terms of content and presentation, the committee of publications of the National Academy of Letters has been circulated by the number 6-7, for its prestigious journal. Corresponds to the last issue of year 4 (December 2009), edited by the general public assisted ANTEL. The summary shows the value of the reporting issues, namely: Homage to Juan Carlos Onetti, five texts. Various academic discourses, with interventions concerning their new members Circe Maia, Estela Medina, Daniel Vidart and several answers. Add a reflection on art and a recognition of the researcher Juan Pedro Barros. Spend also an important chapter tests. Other pages focus in José Pedro Díaz, Amanda Berenguer and news of the entity.
LANGUAGE IN THE FIELDS OF
Uruguayan Academy as an organization specialized in language issues, has marked its presence at meetings in Seville, which examined the work for publication of the Dictionary of Americanisms and revision of the rules of the Hispanic Spelling outside projects. A commission lexicographical develops, at an advanced stage, the English Dictionary of Uruguay , a methodical effort of several years. Collect background, among others, the New Dictionary of Uruguayan (1993), Ursula Kühl, vocabularies contained more in literary, scientific terminology for use in educational fields, etc.., Collected and checked by specialized staff. Laura Álvarez López bring in the testing section, an original study about the Afro-Uruguayan linguistic practice. What made from The patriotic song of black held in line by Francisco Acuña de Figueroa, by reason of the law on freedom of wombs, pertaining to the cessation of slavery. The center of the monograph has to do with linguistic changes registered in multilingual contexts of America America, where Afro-Latin strains have emerged that are considered away from the regional policy, usually closer to their corresponding European. The text of Acuña de Figueroa, which motivates the analysis, is considered a document of discuss how Africans and their descendants in the nineteenth century Uruguay. describes, in general, the socio-historical and cultural context in which it was given, and then enter the dimensions of lexical-semantic, phonetic, phonological, morpho-syntactic similarities scoring Luso-Brazilian sources. magazine condenses a quiet work, but systematic, which strengthens the national culture.
16.02.2010 There seductive words. One of them, to me, is Florida. As a young man paid attention to the charismatic Buenos Aires street of that name, so shiny in the big city. However, it was another, also called Florida that in my children's eyes began to be recorded intimate experiences: the way to school, the neighborhood vacant, light warehouse, commercial windows, workshops with offices now almost lost, the rag balls, the tops, kites, bull in the group games. This Florida, which started almost half the city of Mercedes (Soriano), through the small center square, almost twenty clustered streets that crossed. Ends joined tract of railroad cars at rest and the wooden bridge, lying on the creek Dhaka, in whose forests the Portuguese colonial rule hid the magnificent castle of the Baron of Maua.
Some neighbors had formula flower water, with aromas of roses and jasmine. Macerated flowers with drops of an oil, which diluted in alcohol. Also rice powder, perfumed. Florida Water Al sang, so singular, Fernán Silva Valdés (1887-1975), who composed the tango titled, with music by another animator popular festivities Uruguay: Ramon "Loro" Collazo.
Valdés Silva drove his soft pen as a playwright, storyteller and poet. Gave impetus to the current native Uruguay. In 1970 he received the Grand National Prize for Literature. His early poems were infused by modernism. His extensive record made his lyrical descriptive compositions to be integrated early childhood reading .. His growing popular genre has great records in tangos, milongas, waltzes, folk songs, figures. His poems were accompanied by the voice of Carlos Gardel (Clavel air, for example) or rhythmic and musical inspiration of Nestor (Acosta) Fair ( black and white, whose verses begin showing: I herd of hair / I, as the best ... which will become a pain of love). lasting impression of your correspondence is held with Benavente, Neruda, Alfonsina, Gabriela, LA Herrera, Figari, Quiroga, Amorim, Torres García, E. Larreta, Regular, Gómez Cou, Dossetti, Alonso y Trelles, P. Blanco Acevedo, Vigil, SC Rossi, Sabato, BL Brum, Gallinal and other celebrities. Florida Water is a picture that hangs like a great table showing, with the only appearance of the tango. José Gobello
in Todo Tango , remember that the piece was a creation of Eastern singer Alberto Vila, who recorded with guitars, 2 April 1928. Is below is unforgettable version that left Angel Vargas, D'Agostino orchestra, the November 13, 1941 . And notes: Referring to this composition Silva Valdés said: I wanted to bring back a little tango, to the good old days of early tango criollo, and therefore evoked the atmosphere disappeared from the academies, the Chinese starched and stockings moons. Bring it up, then a description of the environment in 1900, owned by Manuel Gálvez, with the customs prevailing until the beginning dance the tango.
FLORIDA WATER
"Florida Water", you were Creole. / You used the violet poor Mud / plain hairstyles as agua'e lagoon / cheering when dancing the tango / with heels and a crescent. / Perfume taura time spent /-for everything in life is to be well-, / Percanta lied when no / while flapping skirts so.
Chinas / simple potion, / that to the sound of accordions / danced a milongón. / Chinese / that smelling of "Florida Water" / they got in life / a tip of heart.
"Florida Water", you were Creole. / Now and then a viola playing of raw / and other the fourth giving the snare, / And a bunch of shamans was every corner / and life was beautiful and nice weekend. / Vos eras ladeao slouch of time, / the graceful look anchored into the place, / the bow in her hair, percale floreao / and academia and Peringundín. **
INTRODUCTION Maestro José Gobello chairs the Academy of Lunfardo Porteña. It is without doubt the most knowledgeable analyst and relevant highlights of the history of tango, the beautiful and nostalgic music that defines many common elements identity of Argentines and Uruguayans. Biographer profound lyricists, composers and performers for decades provided essential pages of this chapter of world music. The delicious history has collected allow more accurate assessment of what UNESCO has recognized as cultural heritage of humanity (2009).
Its All tango-tango lyrics that tell stories (Ediciones Libertador - Buenos Aires) is a gem of disclosure of the poetry of the city. With this work, which is only a year, Gobello comes with punctiliousness seasoned researcher in the archives of an era marked by the scents of calico, dreams of love and life and certain despair enlightening. The author presents time-series data, authors and events, a synthesis not without sociological and literary references. My notes tango of 2010 began with a short series that will nominate Gobela in honor of the distinguished Argentine tanguista, developed based on their unique contributions. As said, go and meet José Gobello is a real privilege.
Jos A MEMORY WITH MELANCHOLY ...
The expression A bread and water is interpreted as an inherent condition of bohemia, consisting of ephemeral in that leap between what has and is lost, making way for the lonely and still, abandoned. The phrase may refer to the punishment with which the brave policemen a prisoner punished by depriving it of the power supply.
Tango music A bread and water was composed in 1920 by Juan Carlos Cobian (1899-1953). can be drawn that it was a sublime pianist and innovator of tango. He was part of the orchestras and Eduardo Genaro Esposito Arolas. He joined his, which he also directed by Julio de Caro. Son of authorship: Nostalgia Niebla del Riachuelo, The house of my parents, Shusheta, The dizzy et al.) Enrique Cadícamo verses brought him benevolent. Is Gobello which was recorded for the album in October 1945 by a team that left indelible marks, which integrate the singer Angel Vargas to orchestra director Angel D'Agostino. Cadícamo scene install the old Palermo then, in the memories of nights verbena, a love and a tango from far away to caress my ears, like a memory dear, with melancholic overtones . I had time to write endearing Evaristo Carriego quoted, as respected by Jorge Luis Borges. The steps of both plied the Buenos Aires district that becomes Cadícamo. Don José Gobello rescues to his notes on bread and water A , some of the ancestry Palermo, which tinged with hints of Borges.
fragmentary, the one or the other, I draw two tickets. Gobello says: "The Palermo-born as a wedge in the city introduced pampa, extended bass and waterlogged land located between the town of Belgrano and the northern edge of the city, which then reached no further Beyond the Recoleta. No agreement on the origin of its name and some attribute it to the owner of a farm called Juan Dominguez Palermo, which was installed in place back in 1600. Others claim that derives from the dedication of a chapel erected on the present corner of Las Heras and Malabia, where he was venerated San Benito de Palermo. This sector of the city received a significant boost when Juan Manuel de Rosas built a mansion, surrounded by gardens and a channel through which one could sail a boat from beautiful swans. His opponents called this site the Versailles del Plata, compared with Versailles French sarcastic, by the magnificence of the building and the absolutism of those who live ... "
The next segment belongs to Jorge Luis Borges (Buenos Aires, my city - Eudeba 1963): "Palermo was a carefree poverty. The fig tree on the dark mud, the balconies of modest destiny gave the same day, the horn of manisero lost exploring the dark. On the humility of the houses was not uncommon for a pitcher of masonry, crowned arid cactus ... To the west there was dust lanes that were impoverished afternoon outside, there were places in a railway shed or a place of string or a breeze almost confidential opened the plain badly. Or, one of those houses without revoking ponies, low window, grid-sometimes with a yellow mat back, with figures, that the solitude of Buenos Aires seems to breed without human involvement visible. Later: Maldonado, dry and yellow ditch, stretching from the Chacarita aimless and awful for a miracle happened in the death of thirst in the wild expanses of water violent, herded the dying shantytown on the banks. Place some fifty years after that irregular ditch or death, began the sky: a sky mane and neighing and sweetgrass, a horse heaven. That was sad Palermo, as the roads bordering the Pacific Iron Creek, discharging the peculiar sadness of things enslaved and large, high barriers as plow wagon at rest, embankments rights and platforms. A working smoke frontier, a frontier wagon gross movement, closing that side, back or grew dogged the stream. We are imprisoned now: the almost infinite loneliness that flank acavernaba recently, around the trickster tearoom La Paloma, will be replaced by a street tiling tile anglizantes ... "
A BREAD AND WATER
Music: Juan Carlos Cobian, 1920 - Lyrics: Enrique Cadícamo, 1945
In my sad evocation / comes the time it was. / many years have gone / and it seems like yesterday ...! / Where is I loved the ...? / Where is the I forgot ...? / The memory and sets me sad in my heart ... Palermo Viejo then / now go back to my mind ... / How many absent friends / as I recall / those nights verbena, / those nights of joy, / and this tango that was heard / between glasses of champagne ... (Spoken) A bread and water ... Tango comes from afar / to caress my ears / as a memory dear / with melancholic overtones ... / Tango Darling yesterday / what you apart ... gale? / Along with it you're gone / and now brings your evocation.
The tangófilos be rejoicing. In the days ahead will be held in Buenos Aires during the first biography of Carlos Gardel in intensive mode. 
Pintín Castellanos 
